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Ce numéro, composé de contributions d’auteurs autochtones et allochtones, éclaire les débats actuels entourant la notion d’« autochtonie » dans le champ des arts visuels et de la littérature, tout en rendant compte de la nouvelle effervescence de la création autochtone contemporaine, tout particulièrement au Québec et au Canada. Chacun des textes se penche sur la question de savoir ce que signifie être un artiste autochtone aujourd’hui. Ils mettent tous en évidence que la création contemporaine contribue à l’énonciation de l’identité autochtone. This issue sheds light on current debates surrounding the notion of “Indigeneity” in literature and the visual arts, most particularly in Quebec and Canada. At the same time, the articles by Indigenous and Non-Indigenous authors account for the renewed effervescence of contemporary Indigenous creativity. Each of the texts reflect upon what it means to be an Indigenous artist today. They all bring to light the part played by contemporary Indigenous arts in the utterance of Indigenous identity.

"Through innovative and critical research, this anthology inquires and challenges issues of race and positionality, empirical sciences, colonial education models, and indigenous knowledges. Chapter authors from diverse backgrounds present empirical explorations that examine how decolonial work and Indigenous knowledges disrupt, problematize, challenge, and transform ongoing colonial oppression and colonial paradigm. This book utilizes provocative and critical research that takes up issues of race, the shortfalls of empirical sciences, colonial education models, and the need for a resurgence in Indigenous knowledges to usher in a new public sphere. This book is a testament of hope that places decolonization at the heart of our human community." -- Prové de l'editor.

Entre l’élaboration de la Loi sur les Indiens du Canada en 1876 et les débuts du mouvement Idle No More en 2012, plus d’un siècle de contestation et d’oppression hétéroclite s’est écoulé pour laisser place à une prise de parole vigoureuse portée par l’ensemble des Premières Nations. C’est dans cette perspective que ce mémoire s’intéresse aux pratiques performatives contemporaines élaborées par Lawrence Paul Yuxweluptun (Salish), Teharihulen Michel Savard (Wendat) et Louis-Karl Picard-Sioui (Wendat), dont les œuvres permettent de dresser un éventail varié des stratégies de résistance se consacrant à la libération du regard colonial. Les performances provocantes de ces trois artistes autochtones mettent en place une esthétique de la violence qui, considérée ici en tant qu’outil efficace de résilience et d’affirmation identitaire, déjoue l’autorité coercitive de la Loi sur les Indiens. Centrée sur une approche interdisciplinaire, cette recherche aborde au préalable l’historicité qui sous-tend la construction symbolique de l’indianité, laquelle fut par la suite démentie par les militant.e.s autochtones à travers une diversité de mouvements sociopolitiques contestataires au cours de la seconde moitié du XIXe siècle. Les œuvres performatives de Yuxweluptun, de Teharihulen et de Picard-Sioui font subséquemment l’objet d’une analyse détaillée en regard d’une réappropriation et d’une subversion des codes de la majorité, ce qui leur permet de défier les pouvoirs politiques, économiques, médiatiques et symboliques d’une société eurocentrique cautionnant encore à ce jour une vision figée de la réalité autochtone. Au-delà de la forme et du contenu, les œuvres performatives des artistes à l’étude réinterprètent les traditions immémoriales des Premières Nations tout en les actualisant, venant ainsi confirmer la persistance d’une spécificité culturelle et réfuter les volontés d’annihilation des puissances étatiques et coloniales.

During the last five decades we have witnessed an increase in activity among artists identifying themselves as Sami, the only recognised indigenous people of Scandinavia. At the same time, art and duodji (traditional Sami art and craft) have been organized and institutionalized, not least by the Sami artists themselves.

Marie-Hélène Cousineau, qui regroupe des femmes inuits de la communauté d’Igloolik, utilise la vidéo pour démontrer l’importance de la femme inuit dans le développement et la cohésion de l’unité sociale et familiale de l’Arctique (passé, présent et futur). Soulignant la spécificité culturelle des femmes d’Igloolik, ainsi que la portée universelle de questions reliées par exemple à la maternité, au pouvoir et au potentiel des femmes qui sont considérées comme des agents de changement sociétal participant à la transmission et au renouvellement de la connaissance traditionnelle, les cinéastes d’Arnait ont participé à des projets novateurs (telle que l’initiative Live from the Toundra) où les outils technologiques (Internet, blogues, capsules vidéos, radio, satellite) ont servis à établir des ponts entre les di érentes communautés du Nord."

En réaction au féminicide autochtone au Canada et à l’inertie du gouvernement canadien, des groupes militants, des associations de familles et de proches des disparues ainsi que des groupes de femmes autochtones lancent régulièrement des actions commémoratives diverses. L’auteure a mené une enquête ethnographique lors de l’installation artistique commémorative Walking With Our Sisters présentée à Ottawa en 2015, projet réalisé par l’artiste métisse Christi Belcourt. Ainsi, l’auteure s’est interrogée sur la valorisation des femmes autochtones et leur prise de pouvoir au travers de ce processus. Elle remet en question la définition du féminisme occidental en prenant en considération les critiques formulées par les féministes autochtones

"The Routledge Companion to Media and Race serves as a comprehensive guide for scholars, students, and media professionals who seek to understand the key debates about the impact of media messages on racial attitudes and understanding. Broad in scope and richly presented from a diversity of perspectives, the book is divided into three sections: first, it summarizes the theoretical approaches that scholars have adopted to analyze the complexities of media messages about race and ethnicity, from the notion of 'representation' to more recent concepts like Critical Race Theory. Second, the book reviews studies related to a variety of media, including film, television, print media, social media, music, and video games. Finally, contributors present a broad summary of media issues related to specific races and ethnicities and describe the relationship of the study of race to the study of gender and sexuality"--Provided by publisher.

La nation huronne-wendat de Wendake (Lorette, Québec) a maintenu sa culture et son identité pendant des siècles, souvent en dépit de, et en résistance contre les pressions occasionnées par la présence missionnaire et les politiques coloniales. Cette survivance est tributaire de savoirs, de valeurs et de coutumes transmis de génération en génération. Cet article explore l'art de la communauté wendat et ses éléments constitutifs : la fabrication d'objets, la tradition orale, l'engagement actif des membres de la collectivité dans les pratiques traditionnelles, ainsi que l'adaptation des pratiques ancestrales aux préoccupations actuelles. Il montre comment la production artistique wendat, dans sa force expressive, contribue à la continuité et cohésion sociale de la nation wendat.

There are clear challenges posed by rural and remote education in Australia. These challenges are caused both by physical and material factors, but more importantly epistemological divisions that have created a separation between Indigenous and non-Indigenous worlds. Video games have the potential to bridge this epistemological gap by explicating the differences between different knowledge systems and engaging students in exploring these differences. Crucially, these projects need to be co-constructed to ensure that not only the representations of Indigenous people surpass some dubious traditions, but that different epistemologies are adequately framed. There is an urgent need for research-informed game-based learning projects to begin to address the ‘epistemology gap’ and the challenges faced by all Australians.

Le modernisme en art est souvent considéré comme un développement spécifiquement occidental. Robert Houle, l'artiste, écrivain et commissaire d'exposition d'origine Saulteaux, a cependant toujours soutenu que sa propre pratique est moderniste et qu'elle suit une filiation esthétique autochtone. Cet article s'intéresse particulièrement à une œuvre produite par Houle en 1994, Premises for Self Rule, dans laquelle l'artiste a juxtaposé des textes de législation coloniale à des panneaux peints en monochrome et des cartes postales trouvées en archives. Il propose qu'à travers cette stratégie de rapprochement, l'artiste fusionne la tradition de la peinture de parflèche à l'esthétique moderniste, remettant ainsi en lumière la négociation interculturelle, l'amnésie coloniale, ainsi que les écarts qui séparent les épistémologies et traditions artistiques des peuples autochtones et allochtones

Nunatsiavut, the Inuit region of Canada that achieved self-government in 2005, produces art that is distinct within the world of Canadian and circumpolar Inuit art. The world's most southerly population of Inuit, the coastal people of Nunatsiavut have always lived both above and below the tree line, and Inuit artists and craftspeople from "Nunatsiavut have had access to a diverse range of Arctic and Subarctic flora and fauna, from which they have produced a stunningly diverse range of work. Artists from the territory have traditionally used stone and woods for carving; fur, hide, and sealskin for wearable art; and saltwater seagrass for basketry, as well as wool, metal, cloth, beads, and paper. In recent decades, they have produced work in a variety of contemporary art media, including painting, drawing, printmaking, photography, video, and ceramics, while also working with traditional materials in new and unexpected ways. SakKijâjuk: Art and Craft from Nunatsiavut is the first major publication on the art of the Labrador Inuit. Designed to accompany a major touring exhibition organized by The Rooms Provincial Art Gallery of St. John's, the book will feature more than 80 reproductions of work by 45 different artists, profiles of the featured artists, and a major essay on the art of Nunatsiavut by Heather Igloliorte. SakKijâjuk - "to be visible" in the Nunatsiavut dialect of Inuktitut - provides an opportunity for readers, collectors, art historians, and art aficionados from the South and the North will come into intimate contact with the distinctive, innovative, and always breathtaking work of the contemporary Inuit artists and craftspeople of Nunatsiavut

Les porte-bébés et les paniers d'écorce autochtones sont, en tant que réceptacles, conçus pour porter et tenir. Outre cette fonction, ils sont aussi détenteurs d'histoires, de mémoire, et de liens familiaux. Créés individuellement et ornementés avec soin, ces objets constituent une sorte de portrait des femmes qui les ont produits, ainsi que des générations qui ont hérité des pratiques et des motifs servant à les fabriquer. En élargissant la définition de la notion de portrait de famille, cet article considère deux objets provenant de Bear Island, en Ontario. Le premier est un porte-bébé ayant appartenu à Madeline Katt Theriault, et le deuxième est un panier d'écorce vraisemblablement créé parson arrière-grand-mère Angele Katt. Par leur parenté, ces réceptacles englobent une histoire multigénérationnelle qui s'étend de l'arrière-grand-mère à son arrière-petite-fille

Les projets d'expositions archivistiques—et leur documentation—sont des lieux de production de connaissances en histoire de l'art, ainsi que des interventions politiques, qui placent les documents dans un autre contexte afin d'interroger les canons et les façons de voir des colonialistes-colons. À partir de ces relations discursives, visuelles et archivistiques, cet article examine deux rétrospectives solos des œuvres sculptées et peintes des artistes modernistes kwakwaka'wakws, Doug Cranmer ('Namgis) et Henry Speck (Tlawit'sis), présentées à Vancouver en 2012. En considérant comment les conservateurs ont fait appel aux archives familiales intimes et à des documents du domaine public, il traite de l'utilité des archives du modernisme pour activer des liens affectifs, ancestraux et familiaux au-delà des modes de compréhension canoniques et historiques des mouvements esthétiques et des contextes de production

Digital games, with their capacity for expression and facilitating experience through code, design, art, and audio, offer spaces for Indigenous creatives to contribute to Gerald Vizenor’s characterization of survivance as an active sense of Native presence. Indigenous digital games can be acts of survivance both in the ways they are created as well as the resulting designs. We Sing for Healing is an experiment in developing an Indigenous digital game during limited Internet access that resulted in a musical choose-your-own adventure text game with design, art, and code by Anishinaabe, Métis, and Irish game developer Elizabeth LaPensée alongside music by Peguis First Nation mix artist Exquisite Ghost. The non-linear gameplay expresses traditional storytelling patterns while enabling players to poetically travel in, through, and around traditional teachings. The design uses listening, choosing, and revisiting to reinforce what is best described as a non-linear loopular journey.

The publication of Whose Land Is It Anyway? A Manual for Decolonization is inspired by a 2016 speaking tour by Arthur Manuel, less than a year before his untimely passing in January 2017. The handbook provides a variety of Indigenous perspectives on the history of colonialism, current Indigenous activism and resistance, and outlines the path forward to reconciliation

Video games, even though they are one of the present's quintessential media and cultural forms, also have a surprising and many-sided relation with the past. From seminal series like Sid Meier's Civilization or Assassin's Creed to innovative indies like Never Alone and Herald, games have integrated heritages and histories as key components of their design, narrative, and play. This has allowed hundreds of millions of people to experience humanity's diverse heritage through the thrill of interactive and playful discovery, exploration, and (re-)creation. Just as video games have embraced the past, games themselves are also emerging as an exciting new field of inquiry in disciplines that study the past. Games and other interactive media are not only becoming more and more important as tools for knowledge dissemination and heritage communication, but they also provide a creative space for theoretical and methodological innovations. The Interactive Past brings together a diverse group of thinkers -- including archaeologists, heritage scholars, game creators, conservators and more -- who explore the interface of video games and the past in a series of unique and engaging writings. They address such topics as how thinking about and creating games can inform on archaeological method and theory, how to leverage games for the communication of powerful and positive narratives, how games can be studied archaeologically and the challenges they present in terms of conservation, and why the deaths of virtual Romans and the treatment of video game chickens matters. The book also includes a crowd-sourced chapter in the form of a question-chain-game, written by the Kickstarter backers whose donations made this book possible. Together, these exciting and enlightening examples provide a convincing case for how interactive play can power the experience of the past and vice versa. Source: Publisher

Between 1974 et 1996, the Canadian artist of Mexican origin Domingo Cisneros was seen as a leading figure in contemporary art in Canada. He played a major role in the process of self-determination that First Nations artists undertook following the infamous 1969 White Paper, the Statement of the Government of Canada on Indian Policy. Cisneros was recognized both in the Native and Quebec francophone contemporary art worlds, and was internationally acclaimed within the conceptual and contextual art milieu gathered around the Polish artist Jan Swidzinski. His contribution has nevertheless been forgotten. Coinciding with his seventy-fifth birthday, this article aims to review, conceptually frame, and contextualize Cisneros’s role and impact on the Canadian art scene. It argues that his interdisciplinarity, or “indiscipline,” was instrumental in building connexions and bridges between heterogeneous values, cultural protocols, and epistemological principles.

In lieu of an abstract, here is a brief excerpt of the content: As I sit writing in my kitchen while the forces of the U.S. military state are brought to bear on thousands of Standing Rock water stewards and land protectors and their allies in Cannonball, North Dakota, I consider how this sail special issue on digital Indigenous studies not only represents a collection of essays about the critical work Indigenous women are performing in their various digital projects but also illustrates that these online “Indigenous territories” (Hearne), crafted on social media platforms such as Twitter and Facebook, save lives. Every single day since the protectors first gathered to oppose the proposed 1,170-mile Dakota Access pipeline (a project that would potentially contaminate the Missouri watershed and the Ogallala Aquifer and desecrate Dakota sacred sites), digital independent and social media have constantly covered the story. At least 1.3 million Facebook users checked in virtually at Oceti Sakowin and other Indigenous camps and communities to ensure that support presence is recognized, while the world monitors the presence of the military and police force gathering at the construction site to curb further violence. The Standing Rock gathering offers hope to networked Indigenous youth, a demographic between three and ten times as likely to commit suicide than the national average peer rate. The Nodapl action in the Indigenous imaginary is an invitation to stand at the front lines of a global movement to protect water and land resources for all living beings on this planet and to draw attention to and support those whose lives and ways of being are in peril through overt military action and consequential environmental destruction. It is also an occasion, in the words of Jolene Rickard, “to invest in the apparatus of the imagination” (Bernardin). One need only look at the online art, handwritten signs, and logos representing #nodapl, #standingrock, [End Page 172] #waterislife, and #rezpectourwater to see the ways in which Indigenous artists are creatively and powerfully envisioning this movement, most often immersed with work that features strong images of Native women and girls, the community backbone and life force. Or we need only view digital videos like computer animator and artist Joseph Erb’s black-and-red graphic history of Standing Rock, “Mni Wiconi / Water Is Life” (https://www.youtube.com/watch?v=kXoy5lzpjiM), and first-person game platforms like Elizabeth LaPensée’s Thunderbird Strike, which extend the conversations at Standing Rock to the struggles over Enbridge’s Alberta tar sands pipeline and fracking practices as players work to undo and prevent further environmental degradation. Following Idle No More’s digital and geospatial (re)articulation of Indigenous territories, we are now living and loving and hoping in this historic moment as new ways of relating to one another and living in deep connection with the land and all its forms of life are being physiologically, intellectually, and spiritually forged at the geospatial confluence of the Missouri and Cannonball Rivers. They are being forged as well through the confluences of digital rivers on our electronic devices and in our online conversations about the beauty and devastation of the events that are unfolding in Standing Rock. Susan Bernardin’s essay in this issue on Heid E. Erdrich’s “Pre-Occupied” considers the meaning of rivers to Native peoples and contends that images of waterways, particularly the Mississippi, are mobilized “to make visible the continuing claims of this and other imperiled riverine systems.” In her introduction, Joanna Hearne asks us, “How might such an intersection of digital and Indigenous specificities take place in a way that is ‘native to the device’; that is, how might Indigenous specificity be embedded in shared platforms that are therefore central to all of our digital lives?” The essays in this special issue respond to this question by theorizing digital media in fresh and innovative ways. Many of us teach digital humanities courses or classes with strong digital media content, but we lack the language for critically engaging this new field on its own terms as it intersects, extends, and radically reconceptualizes more familiar research areas such as cinema studies, Indigenous / Native American studies, communication, literature, art, and history.